St Mary, Shotley |
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www.suffolkchurches.co.uk - a journey through the churches of Suffolk |
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The Shotley
Peninsula runs like a flame, or a tongue, between the
Rivers Stour and Orwell as they sprawl lazily towards the
sea. At Shotley Point, the two rivers meet before
emptying into the grey North Sea, the great industrial
expanse of Felixstowe Docks on the north bank dominating
the scene, while prettier Harwich to the south busies
itself looking purposeful. You can stand all day at
Shotley Point watching. There is always something to see:
the vast container ships bringing Chinese televisions and
Vietnamese shoes, the ferries with their cargoes of
sleepy Dutch and German motorists, small Arthur
Ransomesque yachts speeding out of the Orwell with its
marinas, a wherry of London bankers sipping Pimms in the
sunshine, wondering where their next bonus is coming
from. The church was largely rebuilt in the 15th Century. A couple of bequests indicate details of the work done, John Dykeman's will of 1485 leaving money to repair the north aisle and eight years later Thomas Pryche left half a noble to make a window on the south side. However, in the 1630s the tower collapsed. It had been built of septaria, a friable material and no match for the gales from the North Sea. It was patched up, and then in the 1740s came a remarkable rebuilding programme, as we will see inside. Unusually for Suffolk,
the south door of the church opens almost onto the
village street. You step into the light of a wide-aisled
nave. The pleasantly cool whitewashed interior seems much
larger than is possible from the outside. But the eye is
irresistibly drawn to one of the most extraordinary
chancel arches in Suffolk, a great dark wood casement
surmounted by a set of arms, offset slightly in the east
wall. Beyond, the effect is startling, and rather
wonderful. In 1745, the year of the Jacobite Rising, the
chancel here was rebuilt in the style of a Classical City
of London church, a striking counterpoint to the ancient
Gothic space of the nave. The black and white marbled
floor leads to curved, three-sided rails surrounding a
sweet little holy table, the decalogue boards flanked by
Moses and Aaron behind. White light pours through high
windows. Such rational elegance! There could be no
greater statement of the power of Protestant triumphalism
at that troubled time. Meanwhile, in the
rural backwaters, the Catholic aristocracy was little
shaken by the events of '45. Perhaps they read their
newspapers with a frisson. But after all, they were only
just awakening from the long years of penal silence.
Although the Old Religion was still technically outlawed,
they were no longer persecuted, and many had begun to
retake their place in the national hierarchy. It was a
compromise, but an ordered and easy one. |
Simon Knott, March 2021
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